Date: Thursday, November 17 2021
Time: 11:15-12:15 pm (EST)
Does art still matter? What needs to change for artists working in a post-pandemic world? Two bold questions that have emerged over the past 18 months when we have seen cancellations in live performances and a surge in streaming sites, online content, as well as a rise in decreased social capacities.
Through an international lens, this session will discuss the tactics, programs, and innovative initiatives being explored by countries that are recovering or still experiencing new pandemic waves. Topics will include taking stock of the success or failures of new initiatives as well as highlighting what has emerged post-pandemic that will inevitably influence change in how we work within the arts and cultural industries.
This session is for artists, agents, arts presenters, and anyone interested in discussing how to implement real change within the industry.
Federico Irazábal has a Bachelor of Arts from the University of Buenos Aires. He exercises teaching, research and theater criticism in various media. As a critic he publishes his articles in the newspaper La Nación. He is the director of the magazine Funámbulos and has published the books The political turn. An introduction to political theater in the framework of weak (weakened) theories, By a desiring criticism and Anauratic Theater. As a teacher he works at the National University of Buenos Aires. He has been Executive Director of the Provincial Council of Independent Theater and Representative of the Ministry of Culture of the Nation on the Board of Directors of the National Theater Institute.
He currently serves as Artistic Director of the International Festival of Buenos Aires (FIBA)
Gregory Vuyani Maqoma became interested in dance in the late 1980s as a means to escape the growing political tensions growing in Soweto, where he was born. He founded Vuyani Dance Theatre in 1999 while undertaking a scholarship at the Performing Arts Research and Training School (PARTS) in Belgium, Maqoma has established himself as an internationally renowned dancer, choreographer, teacher, and director.
The French government honoured Maqoma with the Chevalier de L’Ordre des Artes et des Lettres (Knight of the Arts & Literature) Award in 2017. In 2018, Maqoma collaborated with William Kentridge as a choreographer and performer in “The Head and the Load,” which premiered at the Tate Modern Gallery in London, and is still touring Europe, and the United States.
2019 collaborated with Idris Elba and Kwame Kwei-Armah in “Tree,” produced by Manchester International Festival and the Young Vic (2018). In 2020, Maqoma was honoured to deliver the prestigious International Dance Day message under the auspices of the International Theatre Institute and UNESCO.
Kate McGrath is Director and Chief Executive of Fuel, which she co-founded in 2004. Fuel leads the field in independent producing in the UK’s live performance sector, collaborating with curious, insightful and skilled theatre makers to create fresh experiences for adventurous people. Fuel’s work is socially and politically engaged in the world we live in, and celebrates untold stories, under-represented artists and under-served audiences. Current Fuel projects include Heather Agyepong’s The Body Remembers, Common Wealth and Speakers Corner’s Peaceophobia, Hema Palani’s Salt and Sugar, and Fly The Flag with Oona Doherty. Kate is Curator for the Edinburgh International Festival’s programme of new socially and politically engaged theatre, dance and spoken word from around the world. Kate is currently also a trustee of Clore Leadership, a member of the steering committee of What Next?, and a governor of Michael Faraday Primary School. @1KateMcGrath @FuelTheatre
Dr. Terri-Lynn Brennan
As the CEO of Inclusive Voices Inc., Dr. Terri-Lynn Brennan combines a 30+-year professional career in Inter-Cultural Planning across four continents and currently holds a national role as a sector trainer for the Cultural Human Resource Council of Canada in Maintaining Respectful Workplaces in the Arts. Some of her most recent clients include the Regional Municipality of Wood Buffalo (10-year Public Art Plan), the Town of Canmore (10-year Culture Plan), and the Indigenous Performing Arts Association of Canada (IPAA) (board recruitment and governance support). Terri proudly identifies as mixed Kanien’kehá:ka (Mohawk) and British descent where her people come from Six Nations of the Grand River and Brantford, Ontario.